Miles Davis Videos

Hempshopper - Saturday, November 28, 2009 @ 8:00-9:00 pm [20-0958] Amsterdam, nl. Our ninth Cannabis Cup 2009 broadcast from the festivities in Amsterdam comes from the Hempshopper on Saturday evening and continues our celebration of the Fifth Anniversary of the John Sinclair Radio Show since we launched this project at Coffeeshop Amnesia on November 22, 2004. I’m [...]

Cannabis College - Monday, November 23, 2009 @ 5:00-6:00 pm [20-0952] Amsterdam, nl. Our first Cannabis Cup 2009 broadcast from the venerable Cannabis College in Amsterdam continues our celebration of the Fifth Anniversary of the John Sinclair Radio Show since we launched this project at Coffeeshop Amnesia on November 22, 2004. This episode features regular Cannabis Cup [...]

Miles Davis was working with a large ensemble under the direction of Gil Evans as 1959 came to an end. Captivated by the machismo of bullfighting and charmed by Spanish music, Davis planned an album with Evans that would capture the spirit of that country. Two weeks earlier, they had made an attempt to record Milesâ version of Spanish composer JoaquÃn Rodrigoâs classical piece for guitar and orchestra, âConcerto De Aranjuezâ. Dissatisfied with the results, they adjourned and returned five days later. Davis was playing trumpet and flugelhorn, and among the nineteen musicians in the group were Davis regulars Paul Chambers (bass) and Jimmy Cobb (drums). Elvin Jones, who would go on to fame working with Milesâ sax player John Coltrane, played percussion. Podcast 167 features the result of that session, as well as some background and resulting interpretations of the song. How significant is the recording? Read what Maria Schneider, no slouch as an arranger and conductor, wrote: This is arguably the finest of Gil's and Miles' collaborations. There are countless details one could highlight, but I would like to touch on ... (one) particular point about this piece. It will be more deeply appreciated if you first take the opportunity to listen to the original guitar concerto as composed by Rodrigo. A comparison will illuminate Gil's unique gifts in writing all parts in a linear fashion. It's most notable that he manages to do this even in the bass line. The bass is never just relegated to playing roots, but rather linesârich melodic lines. If you listen to the tuba line in the beginning, you'll catch one of these lines right from the start. And if you listen to the bottom parts throughout this work, you'll see that part of the translucence that Gil generally gets in his music is from freeing up the bottom and putting air in these low parts. Such attention to line-writing permeates every layer and can be heard throughout this piece. Click here to follow along as Ms. Schneider suggests, and listen to: John Williams â Concerto De Aranjuez Beginning with one of the great classical guitarists of our time, here is a stripped down version of Rodrigoâs classic composition. Miles Davis â Concierto De Aranjuez (adagio) from Sketches of Spain. It is the adagio section that is the most familar, so Miles concentrated on that section in his reinterpretation. A masterpiece of nuance, and subtlety. Jim Hall - from Concierto. An all-star band does their interpretation of the piece - Jim Hall (Guitar), Chet Baker (trumpet), Paul Desmond (sax), Sir Roland Hanna (Piano), Ron Carter (bass) and Steven Gadd (drums). Arranged for the album by Don Sebensky Chick Corea piano duet.

Filed under: Exclusive, Spinner Interview Saul Williams is an artist of many talents. He began his career in poetry and rose to international acclaim as the star and co-writer of the film 'Slam' before making the natural leap to MC. Williams spent most of the 2000s fronting bands that played a genre-busting music that was neither hip-hop nor rap-rock. Further refuting any kind of categorization, Williams worked with famed producer Rick Rubin and later teamed with Nine Inch Nails mastermind Trent Reznor for 'The Inevitable Rise and Liberation of Niggy Tardust,' which was released in 2007. Despite Williams' insistence of operating beyond boundaries, he seems like the natural "unspoken spokesperson" for the Afro-Punk movement, which was sparked by a 2003 film of the same name. Thus, Williams is currently anchoring the 2009 edition of the Afro-Punk Tour, appropriately sub-titled 'The Niggy Tardust Experience.' While the rest of the roster varies from night to night, other participants include Living Colour, CX Kidtronic, Earl Greyhound and American Fangs. Spinner caught up with Williams moments after he walked offstage following a recent Afro-Punk gig. The costumed and masked musician was eager to drop some bombs on us, such as the role he's playing in an upcoming film, anecdotes from his time with Rubin and Reznor and an unexpected accident that he may or may not have had at a gig. How would you describe the Afro-Punk movement? To me, Afro-Punk is a non-expressed idea. It's more rebellious than hip-hop. In hip-hop, most rappers, their goal is to never lose their cool. In punk, as in Afro-Punk, the goal is to definitely lose your cool. We'd probably only identify the genre as Afro-Punk because that's what the tour is called. Right. My goal -- in my personal life and [with] the stage or the written word -- has been to defy boundaries. For instance, whatever the current definition is of what it means to be male, I feel like I probably have more of that within me because I know within me I have female. Whatever it means to be American, I know that I'm not just that. I'm more than that -- I'm human. Whatever it means to be black, whatever that ruling definition is, I know that in my life -- because I see race as something that's created by people but nothing real -- I think of myself as more than that. I don't accept limitations from myself or from my music, so I pull from everything that I love. And I love music.

http://www.staytunedtv.frAuthor: stay-tuned Tags: milesdavis wewantmiles vincentbessieres lacitedelamusique exposition staytuned Posted: 11 November 2009 Rating: 0.0 Votes: 0

Bohemian National Home Sunday, November 1, 2009 @ 7:00-8:00 pm [20-0946] Detroit, US. Tonight I’m celebrating the birthday here in Detroit of my wife Penny, born on this day in 1954, and getting ready to head to New York City on Tuesday for a week before flying back to London. Here at the Bohemian National Home [...]

Bohemian National Home Sunday, October 25, 2009 @ 1:00-2:00 pm [20-0945] Detroit, US. I’m celebrating my father’s birthday today—Jack Sinclair, born in Kinde, Michigan, October 25, 1910—he would’ve made 99 years old today! Juan Carlos Hearn, Artist in Residence at the Bohemian National Home, is riding shotgun with me so I can grill him about [...]

Filed under: News, Video, Exclusive, Movies It's well documented that in 1970, the Isle of Wight Festival got a little crazy. It was the third year of the festival and many of the 600,000 attendees showed up with no real intentions of paying. Sets from Bob Dylan, Miles Davis and Jimi Hendrix captivated the crowd while Kris Kristofferson dodged bottles thrown his way and was eventually being booed off the stage. Performers were hit or miss and there was a feeling of angst and urgency documented, with militants setting fires nearby fueling the sense of unease. Following Hendrix's performance on the last day, Leonard Cohen took the stage after being awoken from his trailer at 2AM to perform with his band 'The Army.' Documentarian Murray Lerner -- who had been nominated for an Oscar for his documentary on the Newport Folk Festival in the 1967 film 'Festival' -- was there to capture the entire event and has recently extracted Cohen's performance in a DVD/CD combo entitled 'Leonard Cohen: Live at the Isle of Wight 1970.' "I wanted to show that relationship to the crowd," Lerner tells Spinner, "and how that seemingly obscure poetry was so well received. He was surprisingly successful he was at such a tense moment."

Plus d'infos :http://www.fluctuat.net/6926-Pop-star-du-jazz-Miles-Davis-a-la-Cite-de-la-MusiqueAuthor: fluctuat Tags: exposition miles davis miles-davis visite fluctuat jazz musique cité-de-la-musique Posted: 15 October 2009 Rating: 0.0 Votes: 0

Alias Adam Dorn illustrates the influential power of his father, legendary jazz and R mowoVideo 2 views | 0 comments Click here to watch the video (01:58) Submitted By: InTheBand Tags: Adam Dorn Joel Hyenas Records Miles Davis Luther Vandross Interviews Southpaw Brooklyn Categories: Music & Dance

The 50th Anniversary of Miles Davis' Kind of Blue is a very historic event. Legacy Recordings is releasing a Collector's Edition Box set on September 30 to celebrate this very important release. Take a look at this piece and see why this is such an important release, if you don't already know.